Ken Wilkinson

+ 1. At least it's nice to know that folks will go to great lengths to maintain the highest quality recordings, even if it makes no difference downstream.

Yes I'd love to see this too but it's not available

Guess not. Best solution I could think of

You load its calibration videos into you DAW, they have beep and a visual pop that play in sync. You play the files back and point the device at the screen and it measures the offset between the audio and the video delay in either quarter frames or milliseconds. Then you take those numbers and use them to delay the audio to match the video delay.

It's not cheap but it does it's job very well. I learned the hard way sync might not be what you think it is in post. Different monitors, different codecs and different video cards each have their own delay. I was lucky enough to find mine on ebay for $0.99. Luckily nobody else knew what it was

This is what I use to calculate video delay in the studio. Pretty standard in post houses. http://www.pharoahaudio.com/syncheckproducthomepage.html

Maybe call some local recording studios?

I know what you mean Petrol's website makes them sound like they are only for camera mounting but they are compatible with the sound bags too I have one on mine. it comes with a camera mounting plate that comes in handy sometimes.

brother in law getting married tomorrow... Damn

it happens with used software licenses. sometimes there is nothing you can do. I have a pt9hd license that I can't upgrade because they don't allow ilok transfers just for that specific version. therefore I can't surrender the license. had to pay avid to find that out.

good answer

They are not forcing you to sell your hardware. They are forcing him to buy yours and if your not selling, it's his problem; the hazards of buying used software.

what's wrong with pizza?

finally the kind of answer I was looking for!

Thank you guys this is great advice!

Since the commercially available barrel pads are so long and bulky I decided to make a 20dB balanced L-pad (U-pad) out of a 2' XLR patch cable. The problem is it wont pass P48 or 12T power. It does work with dynamic mics, and attenuates as intended, but not with my condensers which of course is the reason I made it. Not sure if i made it wrong or am missing something. Any suggestions? I followed these instructions http://www.uneeda-audio.com/pads/

wish I could make it!

smh...

no trams. b3's and mke-2's is there a preferred polar pattern for a boundary mic?

I've already blown out my budget on my new kit but would like to add a boundary mic for an upcoming submarine shoot. Can anybody recommend a decent affordable mic for this purpose? I'd love to pick up a cub but the really have to stop saying " oh it's only $xxx"... been doing that way too much lately

I know... everything " depends"

12-18 months? Good thing microphones don't wear out that fast! These cans have never seen field use, only light personal home and studio use but getting a new pair probably isn't a bad idea.

After 13 years of service my trusty Sony 7605 cans are in need of new ear pads. I've seen many guys out there with the softie covers and heard good reviews, but heard they need some time to break in and don't allow your ear to sit inside the cup of the ear pad. I've also seen some really nice leather replacement pads. I've heard that they help seal around the ear better than the stock pads ( and obviously the softie) and help improve isolation and bass response as a result. but they are leather, are they sweaty? is there a bad choice here?

btw do you guys consider the cut 1 essential kit or can I rely in my mixers low cut?